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Workhouse (2012)

Animated Short Film

Animation technique: Paint on glass and cut-out animation

Duration: 6'50"

Format: Full HD (1080p)

Festival Participations and screenings:

SKETCHPAD: Quand nos enfants seront adultes (exhibition in the gallery Topographie de l’Art in Paris, 2019)

BLOW-Up Chicago International Arthouse FILM FEST (2015).

Sarmat International Independent Film Festival (2015)

Los Angeles CineFest (2015)

Depth of Field International Film Festival, Los Angeles (2015)

Bruce Campbell's Horror Film Festival (2015)

Le Salon de Montrouge (exhibition in Paris, 2015)

Conferences Musicales (event in the Theatre de Verre in Paris, 2014)

London Greek Film Festival (2013)

International Motion Festival, Nicosia (2013)

Caetera (individual exhibition in Paris, 2012)

Awards and distinctions:

Best Animator Award in Anim8fest International Animation Film Festival in Los  Angeles (2016)

Finalist for the Norman McLaren Award in BLOW-Up Chicago International Arthouse  FILM FEST for the film Workhouse (2015)

Director's statement:

Workhouses were a kind of camps in Brittain, where the poor were taken around the end of the 19th and the beginning of the 20th century. They didn't function as asylums or shelter, but rather resembled prisons where the poor and the unemployed were sent and forced to work in various workshops, producing artisan-ship products which were consequently sold.

Michel Foucault mentions workhouses very often, seeing in them an early stage of the contemporary forms of exclusion and marginalization of those elements of the population who do not fit the general rule. Workhouses function as an emblematic archetype of the concept of heterotopia -a place of all those who have no place; they are the places destined to accept all those who are unacceptable, who belong nowhere.

The notion of the comical, when pushed to its edge (to the point where it functions as a revealing signifier) consists in a fatal refusal of every form of stability, a refusal without terms or limits, without any compromises. Thus, the comic (the one who is determined by the notion of the comical, either as the one who sets it in motion by doing something comical, either as the one who undergoes its effects, who suffers it) is out-casted, exiled from the area where certainties, hierarchies of rules, principles and solid points of reference still exist.

So the comic becomes the perfect outcast, the outsider by excellence. He is the one liberated by everything because he is the one who has the property and the capacity to laugh about and at everything. His refusal works as a creative factor for a free world and, of course, for a world-freedom, where one can only gain access under the condition to refuse every other world.

The animated film “Workhouse” is not destined to be “read” and neither does it attempt to produce a precise, closed and unilateral meaning. Essentially, it consists of an apposition of elements, images, signs, symbols and archetypes of the comical universe who are put there to set in function the comical, to “activate” it and, consequently to reveal its tragic substrate, its uncompromising nature and, of course, the violence that constantly derives from it.


Workhouse was my' graduation film, initially structured to accompany (or be accompanied by) a performance. The film was subsequently re-edited in order to be presentable as a conventional animated short film.

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